deposiz.jpg (24424 byte)
 
Francisco Argüello (Kiko): Deposizione
Copyright photo © 1990, Carlo Forlivesi
 
 
 
Carlo Forlivesi

REQUIEM

for 8-channel tape

Komm

Les pleurs

( )

REQUIEM is an 8-channel electronic music work composed in 1999 and subsequently revised in 2007. It is conceived as an acoustic rite, an electronic poem in three parts – Komm, Les pleurs and ( ) – separated by a period of silence. During a performance there is, in the darkness, an array of eight speakers with eight channels, to which correspond as many columns of light. It is requested that the composition end without applause. Through concrete and synthetic music this work comprises of a selection of the sounds, developed electronically, of ritualistic objects used in various cultures around the world: little bells, pipes, glasses, matches, a rain stick, a dobachi (a ritual Japanese instrument), together with a chord played on a baroque violin from the Passacaglia of Heinrich Biber. The central moments of Komm and of Les pleurs are, respectively, a reworking of the Motet BWV 229 by J.S. Bach (in retrograde and with altered tempo), which generates a syllabic though not textual signifier, and a quotation from a composition for viola da gamba of Monsieur de Sainte Colombe.

The work lasts 14:59

    Komm        [5:50]
    Les pleurs  [4:47]
    ( )                [4:22]


    sound excerpt from Komm (MP3, 650 Kb)

    sound excerpt from Les pleurs (MP3, 380 Kb)

Date and place of composition: December 2-13, 1999 - DIEM, Aarhus (Denmark).  Revision: Autumn 2007.

REQUIEM was composed at DIEM, Danish Institute of Electroacoustic Music (Aarhus), with funds provided by the Italian Association for Young Artists and the Rolo Bank 1473 Foundation.

 

Technical specifications

Original version: 8 mono tracks.
Original support: 8-channel ADAT or Stereo mixdown.

Leave the hall in the dark with eight moving head spotlights tracking light beams directly from the ground nearby each loudspeaker. Lightbeams have to be projected to the ground at the beginning of the piece, and slowly turned up from the ground to the ceiling during the first minute of music. Keep the eight spotlights tracking columns of light during the entire piece, and turn them down after the very end of the composition. Then make completely dark. Spotlights power has to be proportioned to the size of the venue. If possible, emphasize the effect with a fog machine.